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And custom lie upon thee with a weight
Heavy as frost, and deep almost as life!

O joy! that in our embers
Is something that doth live,
That Nature yet remembers

What was so fugitive !
The thought of our past years in me doth breed
Perpetual benediction : not indeed
For that which is most worthy to be blest,
Delight and liberty, the simple creed
Of childhood, whether busy or at rest,
With new-fledged hope still fluttering in his breast :

-Not for these I raise

The song of thanks and praise ;
But for those obstinate questionings
Of sense and outward things:
Fallings from us, vanishings,

Blank misgivings of a creature
Moving about in worlds not realized,
High instincts, before which our mortal nature
Did tremble like a guilty thing surprized :

But for those first affections,
Those shadowy recollections,

Which, be they what they may,
Are yet the fountain-light of all our day,
Are yet a master-light of all our seeing ;

Uphold us-cherish—and have power to make
Our noisy years seem moments in the being
Of the eternal silence : truths that wake

To perish never ;
Which neither listlessness, nor mad endeavour

Nor man nor boy
Nor all that is at enm
Can utterly abolish or destroy!
Hence, in a season of calm weather

Though inland far we be,
Our souls have sight of that immortal sea

Which brought us hither ;

Can in a moment travel thither-And see the children sport upon the shore, And hear the mighty waters rolling evermore.

with joy,

X

ye

that play,

Then, sing ye birds, sing, sing a joyous song!

And let the young lambs bound

As to the tabor's sound !
We, in thought, will join your throng

Ye that pipe and
Ye that through your hearts today

Feel the gladness of the May !
What though the radiance which was once so bright
Be now for ever taken from my sight,

Though nothing can bring back the hour
Of splendour in the grass, of glory in the flower;

We will grieve not, rather find
Strength in what remains behind,
In the primal sympathy
Which having been must ever be,
In the soothing thoughts that spring
Out of human suffering,

In the faith that looks through death,
In years that bring the philosophic mind.
And O, ye Fountains, Meadows, Hills, and Groves,
Forbode not any severing of our loves !
Yet in my heart of hearts I feel your might ;
I only have relinquish'd one delight
To live beneath your more habitual sway;
I love the brooks which down their channels fret
Even more than when I tripp'd lightly as they ;
The innocent brightness of a new-born day

Is lovely yet ; The clouds that gather round the setting sun Do take a sober colouring from an eye That hath kept watch o'er man's mortality ; Another race hath been, and other palms are won. Thanks to the human heart by which we live, Thanks to its tenderness, its joys, and fears, To me the meanest flower that blows can give Thoughts that do often lie too deep for tears.

W. Wordsworth

CCLXXXVIII

Music, when soft voices die,
Vibrates in the memory -
Odours, when sweet violets sicken,
Live within the sense they quicken.
Rose leaves, when the rose is dead,
Are heap'd for the beloved's bed ;
And so thy thoughts, when Thou art gone,
Love itself shall slumber on.

P. B. Shelley

End of the Golden Treasury

NOTES

Summary of Book First THE Elizabethan Poetry, as it is rather vaguely termed, forms the substance of this Book, which contains pieces from Wyat under Henry VIII to Shakespeare midway through the reign of James I, and Drummond who carried on the early manner to a still later period. There is here a wide range of style from simplicity expressed in a language hardly yet broken in to verse,—through the pastoral fancies and Italian conceits of the strictly Elizabethan time,-to the passionate reality of Shakespeare : yet a general uniformity of tone prevails. Few readers can fail to observe the natural sweetness of the verse, the single-hearted straightforwardness of the thoughts :-nor less, the limitation of subject to the many phases of one passion, which then characterized our lyrical poetry,-unless when, as with Drummond and Shakespeare, the purple light of Love'is tempered by a spirit of sterner reflection.

It should be observed that this and the following Summaries apply in the main to the Collection here presented, in which (besides its restriction to Lyrical Poetry) a strictly representative or historical Anthology has not been aimed at. Great Excellence, in human art as in human character, has from the beginning of things been even more uniform than Mediocrity, by virtue of the closeness of its approach to Nature :--and so far as the standard of Excellence kept in view has been attained in this volume, a comparative absence of extreme or temporary phases in style, a similarity of tone and manner, will be found throughout :--something neither modern nor ancient, but true in all ages, and like the works of Creation, perfect as on the first day. PAGE NO. 1 II Rouse Memnon's mother: Awaken the Dawn from the

dark Earth and the clouds where she is resting. Aurora in the old mythology is mother of Memnon (the East), and wife of Tithonus (the appearances of Earth and Sky during the last hours of Night). She leaves him every morning in renewed youth, to prepare the way for Phoebus (the Sun), whilst Tithonus re

mains in perpetual old age and grayness. 2 1. 23 by Peneus' stream : Phoebus loved the Nymph

Daphne whom he met by the river Peneus in the vale of
Tempe. This legend expressed the attachment of the
Laurel (Daphne) to the Sun, under whose heat the
tree both fades and flourishes.
It has been thought worth while to explain these
allusions, because they illustrate the character of the

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Grecian Mythology, which arose in the Personification of natural phenomena, and was totally free from those debasing and ludicrous ideas with which, through Roman and later misunderstanding or perversion, it

has been associated. 2 II

1. 27 Amphion's lyre: He was said to have built the
walls of Thebes to the sound of his music.
1. 35 Night like a drunkard reels : Compare Romeo and
Juliet, Act II, Scene 3: The gray-eyed morn smiles'
&c.-It should be added that three lines, which ap-
peared hopelessly misprinted, have been omitted in

this Poem. 3 IV

Time's chest: in which he is figuratively supposed to lay up past treasures. So in Troilus, Act III, Scene 3,

Time hath a wallet at his back' &c. 4 V

A fine example of the highwrought and conventional Elizabethan Pastoralism, which it would be ludicrous to criticize on the ground of the unshepherdlike or unreal character of some images suggested. Stanza 6

was probably inserted by Izaak Walton. 6 IX This Poem, with xxv and xciv, is taken from Davison's

"Rhapsody,' first published in 1602. One stanza has been here omitted, in accordance with the principle noticed in the Preface. Similar omissions occur in XLV, LXXXVII, C, CXXVIII, CLX, CLXV, CCXXVII, ccxxxv. The more serious abbreviation by which it has been attempted to bring Crashaw's Wishes' and Shelley's

Euganean Hills' within the limits of lyrical unity, is commended with much diffidence to the judgment of readers acquainted with the original pieces. Presence in line 12 is here conjecturally printed for present. A very few similar corrections of (it is presumed) misprints have been made :-as thy for my, XXII, 9: men for me, XLI, 3: viol for idol, CCLII, 43 : and one for our, 90: locks for looks, CCLXXI, 5 : dome for doom,

CCLXXV, 25:-with two or three more less important. 9 XV This charming little poem, truly “old and plain, and

dallying with the innocence of love’like that spoken of in Twelfth Night, is taken, with v, XVII, XX, xxxiv, and XL, from the most characteristic collection of Eliza

beth's reign, England's Helicon,'first published in 1600. 10 xvi Readers who have visited Italy will be reminded of

more than one picture by this gorgeous Vision of
Beauty, equally sublime and pure in its Paradisaical
naturalness. Lodge wrote it on a voyage to the
Islands of Terceras and the Canaries ;' and he seems
to have caught, in those southern seas, no small
portion of the qualities which marked the almost
contemporary Art of Venice,--the glory and the glow
of Veronese, or Titian, or Tintoret, when he most
resembles Titian, and all but surpasses him.
The clear (1. 1) is the crystalline or outermost heaven
of the old cosmography. For resembling (1. 7) other

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